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Download Booklet 110242-44 bk Boris US 26/04/2004 13:41 Page 16 ADD Great Opera Recordings 8.110242-44 Also available: MUSSORGSKY Boris Godunov Boris Christoff Nicolai Gedda Eugenia Zareska Kim Borg Andrzej Bielecki Russian Chorus of Paris French National Radio Orchestra Issay Dobrowen 8.110216-17 Recorded in 1952 3 CDs 8.110242-44 16 110242-44 bk Boris US 26/04/2004 13:41 Page 2 Great Opera Recordings Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of Modest specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been MUSSORGSKY nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. (1839-1881) He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His philosophy is that a good transfer should Boris Godunov not call attention to itself, but rather allow the performances to be heard with the greatest clarity. (Revised and orchestrated by Nikolay Rimsky-Korsakov) There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and Libretto by the composer after Pushkin and Karamzin consistently achieves better results than restoration engineers working with the metal parts from the archives of the modern corporate owners of the original recordings. His transfers preserve the original tone of the old recordings, Boris Godunov . Boris Christoff (Bass) maximising the details in critical upper mid-range and lower frequencies to achieve a musical integrity that is Fyodor . Eugenia Zareska (Mezzo-Soprano) absent from many other commercially released restorations. Xenia . Ludmilla Lebedeva (Soprano) Nurse . Lydia Romanova (Mezzo-Soprano) Shuysky . Andrzej Bielecki (Tenor) Shchelkalov . Kim Borg (Bass) Pimen . Boris Christoff (Bass) Grigory / Dmitry . Nicolai Gedda (Tenor) A Boyar . Gustav Ustinov (Tenor) Khrushchyov . Andrzej Bielecki (Tenor) Marina . Eugenia Zareska (Mezzo-Soprano) Rangoni . Kim Borg (Bass) Varlaam . Boris Christoff (Bass) Missail . Andrzej Bielecki (Tenor) Hostess . Lydia Romanova (Mezzo-Soprano) The Simpleton . Wassili Pasternak (Tenor) Police Officer . Stanislaw Pieczora (Bass) A Guard . Stanislaw Pieczora (Bass) Lavitsky . Raymond Bonte (Tenor) Chernikovsky . Eugène Bousquet (Bass) Russian Chorus of Paris French National Radio Orchestra, Issay Dobrowen The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best Recorded 7th-21st July 1952 in the Théâtre des Champs-Élysées, Paris and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards First issued on HMV ALP 1044 through 1047 in the field of historical recordings. 8.110242-44 2 15 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 14 Kremlin. In the great assembly hall the Boyars meet, cathedral. The old man had done as he was bidden and CD 1 64:35 Grigory’s Dream: determined that the usurper should be captured and put at once recovered his sight. Boris falls back, fainting. 0 Bózhe krépki, právy 3:08 to death. 9 They await Prince Shuysky, without whom Regaining his senses, he calls for his son and bids Prologue 25:02 (Monks, Grigory, Pimen) they can do nothing. Shuysky joins them, telling how he Pimen to the cloister again. Shuysky hurries away to ! Ti vsyo pisál, i snom nye pozabylsa 3:43 had observed Tsar Boris and was worried about his find Fyodor. Boyars go in search of the Patriarch of the Scene 1 (Grigory, Pimen) sanity; the Tsar had stammered wildly, suffering some Monastery of Miracles. Fyodor runs in, throwing 1 Introduction 1:47 hidden sorrow and speaking to the ghost of Dmitry. The himself into his father’s arms. ! Boris now bids his son (Orchestra) Boris’s Crime: Boyars do not believe him but Shuysky adds that Boris farewell, for he is dying. Fyodor must now succeed him, @ Davnó, chestnóy otyéts 2:03 had told the ghost of the boy to go. Boris enters, at first however the throne had first been gained; he must 2 People’s Chorus: Nu, shtozh vy? 5:17 (Grigory, Pimen) unobserved, repeating Shuysky’s words and then distrust the disloyal Boyars in Lithuania and punish (Police Officer, The People) # Zvonyát k zaútrenye 3:44 coming forward to threaten Shuysky with death. The them. His voice grows weaker, as he bids his son be a (Pimen, Monks, Grigory) Boyars are alarmed at the Tsar’s appearance, but just ruler, honouring the saints and protecting his sister. 3 Shchelkalov’s Address: Shuysky tells him that an old holy man seeks to see him. He seeks the blessing of God and the angels on the boy. Pravoslávnye! nye umolím boyárin! 3:19 Scene 2 Boris orders the old man to be brought in, hoping that @ The funeral bell is heard and the sound of a choir in (Shchelkalov) $ Introduction 1:16 he will bring him peace of mind. 0 Pimen enters and a hymn of mourning. Boris is near to death, still haunted (Orchestra) looks fixedly at Boris, explaining the reason for his by his crimes and fearing what death may bring. The 4 Pilgrims’ Chorus: Sláva tebyé 3:46 visit. He tells him of how an old shepherd came to him, Boyars and religious enter and Boris rises to assert his (Pilgrims) % Song of the Hostess: blind from childhood and incurable by any herbs or power, before falling back in his chair, able only to Poymála ya síza seleznyá 2:14 charms; one night the shepherd dreamed that the voice point to his son Fyodor, the new Tsar. Scene 2 (Hostess, Missail, Varlaam) of a child called him to go to the city of Uglich to pray 5 Introduction 2:00 at the tomb of Dmitry, the murdered Tsarevich, in the Keith Anderson (Orchestra) ^ Arrival of Varlaam and Missail: Zhéno, mir dómu tvoemú! 2:30 6 People’s Chorus: (Varlaam, Hostess, Missail, Grigory) Da zdrástvuet tsar’ Borís Feódorovich! 3:15 (Shuysky, The People, Boyars) & Varlaam’s Drinking Song: Kak vo górode bylo vo Kazáne 3:34 7 Entry of Boris: Skorbít dushá! 3:10 (Varlaam, Grigory, Missail) (Boris) Producer’s Note * Grigory Questions the Hostess: 8 People’s Chorus: Sláva! Sláva! Sláva! 2:28 Kak yédet yon 3:37 The 1952 recording of Boris Godunov was transferred from American LP pressings. EMI’s original master tape (The People) (Varlaam, Grigory, Hostess) contains many occurrences of pre-echo and low-frequency thumps, and those which could not be removed unobtrusively were left in so as not to disrupt the musical content. Act One 39:33 ( The Guard’s Interrogation: Vy shto zá lyúdi? 3:57 A word is in order about the fillers for this set. Fyodor Chaliapin made his first electrical recording of the (Guard, Varlaam, Missail, Grigory) Coronation Scene under Albert Coates’s direction in October 1925 at Hayes. Although it was issued, HMV Scene 1 decided to re-record it, along with the Farewell and Death Scene, only seven months later in Queen’s Small Hall, 9 Pimen’s Monologue: ) Grigory’s Flight: Ya grámotny 3:46 this time with Eugene Goossens at the podium. Neither side was issued at the time, although the second half Yeshchó odnó poslyédnyeye skazánye 6:01 (Grigory, Guard, Varlaam, Missail) eventually appeared on LP. The first side now joins it, making its début some 78 years after it was recorded. The (Pimen) take of Boris’s Death from the 1926 sessions was also unpublished on 78 rpm discs, while the take of the 1931 Clock Scene makes its first appearance here. Mark Obert-Thorn 8.110242-44 14 3 8.110242-44 110242-44 bk Boris US 26/04/2004 13:41 Page 4 CD 2 68:12 calling on God for mercy. CD 3 Act Two 32:15 Act Three 35:57 Act III Act IV 1 Xenia’s Lament: Gdye ty, zheníkh moy 2:56 Scene 1 Scene 1 Scene 1 (Xenia, Nurse) # Chorus of Girls: Na Vislye lazúrnoy 2:38 (Chorus, Marina) # In her room in Sandomierz Castle in Poland her 1 In a forest glade near Kromi a crowd have taken the 2 Song of the Flea: Kak komár drová rubíl 2:00 women dress Marina’s hair, and sing in praise of her Boyar Khrushchyov prisoner. They gag him and tie him (Nurse) Marina’s Aria: beauty. $ She tells them to stop, preferring stories of to the trunk of a tree, seating an old woman by him and $ Krasótka pánna blagodárna 2:22 Poland’s glory. % In an aria she confesses that she is mocking him. 2 They continue their mockery, 3 Clapping Game: (Marina) tired of life, but her ambition centres on Dmitry and the ironically praising the Boyar and Tsar Boris. 3 The Ekh, máma mámushka, vot tak skázochka! 1:18 % Skúchno Marínye 3:33 throne of Russia. ^ She is joined by the Jesuit Rangoni, Simpleton runs in, wearing a hat of tin and carrying in (Fyodor, Nurse) (Marina) who urges her to consider the Church and to do her his hand a sandal made of osiers. He is barefooted and utmost to convert Russia and earn the title of saint. & followed by a group of jeering urchins. They are 4 Boris Consoles Xenia: Chevó? 1:54 Duet: He tells her to use her charms to captivate Dmitry, in the silenced by some of the bystanders and the Simpleton (Boris, Nurse, Xenia) ^ Akh, éto ty, moy otyéts! 4:40 service of the Church.
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